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Details
Format: 2LP + 12" EP Box Set
Label: Habibi Funk
Year: 2025
Media Condition: New
Sleeve/Cover Condition: New
TRACKS:
A1 Cheb Bakr: Allom
A2 Group Hewaya: Irja
A3 Shahd: Erhal Keef Alshams Tgheeb
A4 Ahmed Ben Ali: Jara
B1 The White Bird Band: Ya Ummi
B2 Khaled Al Melody: Jani Bigool
B3 Fathi Aldiyqz & Sons Of Africa Band: Palestine Is My Homeland
B4 Libya Music Band: Kol Al Mawaeed
C1 Stars Of Africa: Baed Al Farha
C2 Khaled Al Reigh: Zannik
C3 Khaled Al Zlitni: Jiti Yam Eloyoun Buhoor
C4 Murad Najah: Hubbi Leeki
D1 City Lights Band: Kul Ghrub
D2 Adil Al Ramli: Mawoud
D3 The Hope Duo: La Tgheeb Anni Wala Youm
E1 Group Hewaya: Keffi Dumouek
E2 Group Hewaya: Ma Kan Yukhtor Fi Bali
E3 Khaled Al Zlitni: Jeetak
F1 Stars Of Africa: Damaat Oyounak
F2 The White Bird Band: Mahal Nansak
F3 Adil Al Ramli: Khadeet Elagl
The Habibi Funk label's gatefold 2LP compilation of Libyan reggae, funk, disco, and synth pop, plus a color vinyl 12" compilation, plus a 32 page illustrated book of notes, in a hardbound slipcase style box.
This compilation isn’t a sweeping history of Libyan music. Rather than spotlighting Libya's most famous musical exports, the compilation brings forward a mix of overlooked gems and local classics of the cassette era: artists whose work thrived in spite of political limitations, and scarce international exposure.
The music featured here blends reggae rhythms, synthy disco grooves, gritty pop, house, and funk, a vibrant collision of genres that reflects Libya’s unique sonic landscape from the 1980s to the early 2000s.
During this era, Independent artists relied on makeshift home studios or travelled abroad to record in Tunisia and Egypt, gradually building their own infrastructures for creativity. By the 90s and early 2000s, as access to digital equipment increased, a few of the artists began setting up their own studios — a shift that gave rise to a more self-sufficient recording culture across the country.
The resulting sounds are anything but homogeneous. They reflect Libya’s geographic and cultural crossroads: North African rhythms meet Arab melodies and deep African roots. Reggae, in particular, took on a local Libyan flavor — not just musically, through the slowed-down cadence of traditional shaabi beats, but socially, as a vehicle for expressing identity and pride.
What ties all the artists on this comp together is a boundary-pushing approach to genre and style: recorded in small studios, exchanged by hand, and shaped by a cross-pollination of influences, from Benghazi to Tripoli and beyond.
Label: Habibi Funk
Year: 2025
Media Condition: New
Sleeve/Cover Condition: New
TRACKS:
A1 Cheb Bakr: Allom
A2 Group Hewaya: Irja
A3 Shahd: Erhal Keef Alshams Tgheeb
A4 Ahmed Ben Ali: Jara
B1 The White Bird Band: Ya Ummi
B2 Khaled Al Melody: Jani Bigool
B3 Fathi Aldiyqz & Sons Of Africa Band: Palestine Is My Homeland
B4 Libya Music Band: Kol Al Mawaeed
C1 Stars Of Africa: Baed Al Farha
C2 Khaled Al Reigh: Zannik
C3 Khaled Al Zlitni: Jiti Yam Eloyoun Buhoor
C4 Murad Najah: Hubbi Leeki
D1 City Lights Band: Kul Ghrub
D2 Adil Al Ramli: Mawoud
D3 The Hope Duo: La Tgheeb Anni Wala Youm
E1 Group Hewaya: Keffi Dumouek
E2 Group Hewaya: Ma Kan Yukhtor Fi Bali
E3 Khaled Al Zlitni: Jeetak
F1 Stars Of Africa: Damaat Oyounak
F2 The White Bird Band: Mahal Nansak
F3 Adil Al Ramli: Khadeet Elagl
The Habibi Funk label's gatefold 2LP compilation of Libyan reggae, funk, disco, and synth pop, plus a color vinyl 12" compilation, plus a 32 page illustrated book of notes, in a hardbound slipcase style box.
This compilation isn’t a sweeping history of Libyan music. Rather than spotlighting Libya's most famous musical exports, the compilation brings forward a mix of overlooked gems and local classics of the cassette era: artists whose work thrived in spite of political limitations, and scarce international exposure.
The music featured here blends reggae rhythms, synthy disco grooves, gritty pop, house, and funk, a vibrant collision of genres that reflects Libya’s unique sonic landscape from the 1980s to the early 2000s.
During this era, Independent artists relied on makeshift home studios or travelled abroad to record in Tunisia and Egypt, gradually building their own infrastructures for creativity. By the 90s and early 2000s, as access to digital equipment increased, a few of the artists began setting up their own studios — a shift that gave rise to a more self-sufficient recording culture across the country.
The resulting sounds are anything but homogeneous. They reflect Libya’s geographic and cultural crossroads: North African rhythms meet Arab melodies and deep African roots. Reggae, in particular, took on a local Libyan flavor — not just musically, through the slowed-down cadence of traditional shaabi beats, but socially, as a vehicle for expressing identity and pride.
What ties all the artists on this comp together is a boundary-pushing approach to genre and style: recorded in small studios, exchanged by hand, and shaped by a cross-pollination of influences, from Benghazi to Tripoli and beyond.